I always like hearing bands from countries that one would not normally associate with metal especially when religion makes playing ‘the devils music’ somewhat prohibitive and difficult. Obviously the Middle East is one such place although bands have been attempting to break free from any constraints put in front of them be it by religion, war and prejudice since metal became popular. Salem are definitely scene elders having formed in 1985 and if you believe everything you read, received a nailbomb in the post after swapping communications with a certain Varg Vikernes. The more likely story is that he simply didn’t like the band’s ideas although Euronymous did and even offered them into the inner circle if they relocated to Norway. I should hasten to add that despite that infamy the sound of Salem in recent years could not be further removed from the pines and fjords of the extreme Norwegian black metal scene.
One of the other best known Israeli metal bands are Orphaned Land and we only just had their new release ‘The Never Ending Way of ORwarriOR’ land a month ago. I have not given this a proper listen, simply a once over and have to admit I sadly found it on the whole overblown and even pompous (although I do intend going back and giving it further attempts). Salem’s sixth full length following on from 2007 album ‘Necessary Evil’ strikes as being the exact opposite, compact, straight to the point and immediate. I was pretty much hooked on the first listen here.
Starting with the duo parted ‘Drums Of The Dead’ we are into a tribal rhythm flowing around singer Ze'ev Tananboim rasps. Drummer and percussionist Nir Nakav keeps the album firing and rattling along at a grand old pace. It is difficult not to compare the sound of Salem with ‘Roots’ era Sepultura (which is no terrible thing) but of course lyrically and with traditional instruments adding a Mid Eastern ethnicity to things this is far from a carbon copy. Another totally understated thing here and so as I cannot see any mention of the singer’s name are the female vocal parts, which are absolutely excellent and crop up on several songs. The lady has an absolutely enchanting voice and it works as a complete contrast to Ze’ev. I noticed a song title ‘Exodus’ and thought as the ‘Jah people’ vocals came in (again the female chorus is stunning) that the band were on a real Bob Marley trip and then it struck that I was listening to a highly original and enjoyable cover here. ‘Downfall Of Paris’ is another song in two parts, the instrumental first part plays out military drumming around horses whinnying, bullets ricocheting and heavy ammo dropping in the background. It’s not the sound of Mid East conflict but I suddenly thought I was listening to an off-cut from Iced Earth’s ‘Glorious Burden.’
‘The Mark Of The Beast’ is a three pronged attack with parts one and two separated by ‘Beast Lullaby.’ It sounds highly ambitious but it actually isn’t and I mean that in a nice way as the music is easy to follow and lose yourself in the simple pleasures of banging your head to the solid groove and pummelling mindset as the vocal interplay jousts away. As for the lullaby it’s a rather lovely interlude. I got to admit I expected more from a song called ‘I Hate Pigs’ than simply poor old oinkers being gunned down but the album finishes in style with the title track ‘Playing God’ and at 45 minutes or so is over quickly enough to make you want to go and give it another spin pretty much straight away. If you have never heard Salem before this is the perfect starting point, in your face enough to really enjoy it and metal to the core as it takes in a wealth of ideas and sounds that are forged from the arid fire of the Middle East.
http://www.myspace.com/salemband
